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Compositor: Carlos Chavez, Director: Eduardo Mata, Orquesta: London Symphony Orchestra, CD Audio (noviembre 4, 1992), No. discos: 2, Disquera: Vox (Classical)

disco: 1
1. 1a: Sinfonia de Antigona
2. 3a: Introduzione: Andante moderato
3. 3a: Allegro
4. 3a: Scherzo
5. 3a: Finale: Molto lento
6. 4a: Sinfonia Romantica

disco: 2
1. Sinfonia India (2a)
2. 5a: Allegro molto moderato: Molto lento
3. 5a: Finale: Allegro con brio
4. 6a: Allegro energico
5. 6a: Adagio molto cantabile
6. 6a: Passacaglia: con anima

Chavez's six symphonies are a substantial addition to the form in modern times. They are diverse in form and mood and beautifully crafted. Though the composer was primarily self-taught, his command of modal counterpoint and 20th century harmony is impressive in the extreme. Each symphony is distinctive musical entity. The First and Second Symphonies are the shortest works, both in a single compact movement, but that's just about all they share. The First Symphony was developed from material that Chavez has written for a production of Antigone. This is the most uncompromisingly modernist music in the set. The piece is one slow movement, with material based on Greek modes accompanied by tense dissonances. It is austere, but powerfully tragic music. The Second Symphony couldn't be a greater contrast. The Symphony, called the Sinfonia India, is one of the best examples of Chavez's forays into musical nationalism. Based on mestizo music from Chavez's childhood as well as including a massive array of native percussion, this is one of the most impressive and accessible pieces in the composer's repertoire, the only work really that approaches a permanent place in the repertoire. The piece begins with a vibrant melody in wildly changing meters, contrasted with a lovely slower pentatonic melody. The piece has an austere middle section based on a haunting modal melody which climaxes and leads to a repeat of the opening material. Then, the final section of the work accelerates and introduces a new, rollicking theme, which is repeated almost verbatim over and over. The only changes are to the instrumentation, as more and more instruments and a greater battery of percussion drive the work to a rousing finale.

The third symphony is the first fairly traditional work in the cycle, written in three movements. The first is a typical sonata allegro with a jaunty main theme. The second is a charming scherzo and the final movement begins as a slow movement, but morphs into a faster finale as it goes. The work is beautifully crafted, as is the one movement 4th symphony, subtitled the Romantic Symphony. The Fifth symphony is almost neoclassical, and scored in two movements for strings alone. The Sixth symphony is also neoclassical, but with romantic overtones. It concludes with a stunning Passacaglia, perhaps the most effective since the Brahms 4th Symphony. It's a wonderful end to a truly impressive symphony cycle.

There is almost no competition for the Third, Fifth and Sixth Symphonies. The only other recordings are old vinyl releases with the composer conducting, and they have never made it to CD.

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